Architects: Steyn Studio
Location: Ceres, South Africa
Lead Project architect: TV3 Architects (South Africa)
Furniture Design: Liam Mooney Studio
Contractor: Longworth & Faul
Structural engineer: Henry Fagan & Partners
Mechanical & Electrical engineer: Solution Station
Quantity surveyor: De Leeuw
Planning consultant: Ron Brunings
Landscape architect: CNdV Landscape Architects
Heritage Consultants: Graham Jacobs, Elzet Albertyn & Lize Malan
Area: 430.0 m2
Year: 2016
Type: Religious
Photographs: Adam Letch
Manufacturers: Terrazzo, Peri

建築師:Steyn Studio
首席項目建築師:TV3 Architects(南非)
結構工程師:Henry Fagan&Partners
工料測量師:De Leeuw
遺產顧問:Graham Jacobs,Elzet Albertyn和Lize Malan

The site is surrounded by majestic mountains with a grand scale which adorned the area with the nickname of ‘Little Switzerland’. Typically Cape Dutch Manor houses set up dialogue with these types of environments, as found in Stellebosch and Cape Town. With the immediate context of the site, the valley is ‘held’ either side with two mountain ranges which sets up a spatial dialogue at a grand scale which occurs on a ‘micro’ level between the Manor House development node and the Chapel development node; across the vineyards and gardens.

該遺址被雄偉的山脈所環繞,規模宏大,並以“小瑞士”的暱稱裝飾了該地區。 典型地,荷蘭海角莊園的房屋會與此類環境建立對話,如斯特雷博斯和開普敦所見。 就該地點的直接環境而言,山谷被“握住”,兩側有兩個山脈,這在莊園住宅開發節點和教堂開發節點之間的“微觀”層面上建立了大規模的空間對話; 橫跨葡萄園和花園。


Similarly the text of Psalm 36:7 is also considered as an important informative from a poetic point of view, and its interpretation, architecturally, as a structure which ‘floats/glides’ and has motion, although physically static.


In order to achieve the visual ‘lightness’ of the roof; the structure had to be simple, unifying and as structurally efficient as possible. It was therefor decided that the roof can also become the walls/columns; its own supporting structure. To realise this we investigated parabolic/hyperbolic arches and surfaces; and its use in thin shell concrete structures.

為了實現屋頂的視覺“亮度”; 結構必須簡單,統一併且在結構上盡可能高效。 因此決定屋頂也可以成為牆壁/柱子。 它自己的支撐結構。 為了實現這一點,我們研究了拋物線/雙曲拱和曲面。 及其在薄殼混凝土結構中的使用。

This translated into the sculptural form which emulates the surrounding mountains as well as the poetic motion sought. This lightness & motion is further emphasised by means of a strategically placed reflection pond. The form is further refined by means of the interpretation of the baroque ‘holbol’ gable in the edge profile and the roof shape. The main characteristic of a ‘holbol’ gable is that of the combination of outward in inward curvatures which results in a series of ‘peaks’ and ‘valleys’ within the roof itself. Similar to the Mission Churches it has no vertical elements and the form is generally horizontal. As with the gables present on these churches, the identifying element on the Chapel is that of its roof and its shaped edges.

這被翻譯成雕塑形式,模仿周圍的山脈以及所追求的詩意運動。 通過策略性放置的反射池進一步強調了這種輕便和運動。 通過對邊緣輪廓和屋頂形狀中巴洛克式“ holbol”山牆的解釋,進一步完善了形式。 “ holbol”山牆的主要特徵是向外彎曲和向內彎曲的組合,從而導致屋頂本身內部出現一系列“峰”和“谷”。 與宣教教堂類似,它沒有垂直元素,而且形式通常是水平的。 就像這些教堂中的山牆一樣,小教堂上的標誌性元素是其屋頂和成形邊緣。

Apart from investigating the local history of the farm we also looked at Moravian Missionary Stations as inspiration. The aim of the chapel is also to reflect the following qualities present in these historic missionary churches of Mamre, Elim and Wupperthal:
– utilitarian simplicity of its plan as an assembly space
– scale
– cultural reference
– tranquillity of its white lit interiors
– ‘tactileness’ of its undulating whitewashed walls

除了調查農場的當地歷史外,我們還以摩拉維亞傳教士站為靈感。 教堂的目的還在於反映這些歷史悠久的傳教教堂Mamre,Elim和Wupperthal存在的以下品質:

However, whereas these churches are mostly inward looking and spiritually reflective, the proposed chapel is to be a more ‘open’ space which invites in, as well as expands its intimacy to the valley and mountains beyond, raising the awareness of God’s creation in the immediate surroundings.

然而,儘管這些教堂大多是向內看並且在精神上具有反射性,但擬建的教堂將成為一個更加“開放”的空間,將其引入並擴大其與山谷和山脈之間的親密關係,從而提高人們對上帝創造的認識。 周圍的環境。


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